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I was thinking about the launch of the BMCC back in 2012 and I got a little nostalgic. That affordable cinema camera that no one saw coming had a 2,5K sensor for $3,000 while shooting RAW and ProRes !

I get very nostalgic for that time.

ANyone remember Leah ?

There was also Jane here in the blue dress. The Leah images were shot with the first build camera, the first time that sensor was in the shipping body.

Before that though I shot Jane in the blue dress here with a science project version of the camera. It was a PCB with a sensor on it and a lens mount. The mount wasn't collimated and there was a 5 second delay on the frame and the image was a B&W un mosaic'd linear image ! Almost impossible to frame with and focus with. Those were the days !

This was the first shoot that wasn't on the bench in the lab.

You'll see a lot of imaging problems in those frames, their hadn't been any FPN or dead pixel work done.

Then a few other interesting builds of cameras here too. Including the shot that lead to the infamous and controversial "Baby Alexa" phrase.

I agree with all being said .. I own Two EF BMCC's and the image quality still is Unique for me among all other Blackmagic cameras , very similar to the BMPCC , I would say even better , with more resolution and a very beautiful organic look ..
I had to remove the battery in one of them , it did not work anymore , but not a problem , I have other powering solutions ..

You'll find here a picture I extracted from a BMCC film I made in Center France in Fall 2014 , I used an ISCO Scoptimax 816 AV in front of a Zeiss 50 ( if I remember well ) , as an Anamorphic Adapter , and graded it to get that Old Vintage look I like ..
an Old Bridge in an authentic area with authentic People .. Of course this 3.55/1 format is not a " Standard of the Industry " ( maybe it should .. ) but for Still Pictures ... not a problem .. The image is soft but it's partly what I wanted , and there is Optical Compression on the sides , on still pictures not a big problem either ..

My Best Regards from France , continue to enjoy that beautiful passion ..

There was also Jane here in the blue dress. The Leah images were shot with the first build camera, the first time that sensor was in the shipping body.

Before that though I shot Jane in the blue dress here with a science project version of the camera. It was a PCB with a sensor on it and a lens mount. The mount wasn't collimated and there was a 5 second delay on the frame and the image was a B&W un mosaic'd linear image ! Almost impossible to frame with and focus with. Those were the days !

I have always liked thinking of the BMCC as a Baby Alexa, because it describes very well BM's philosophy, which is to get the closest they can to the Alev sensor within their given budget.

IMO they have done an AMAZING job and have hands down created the best bang for the buck cinema camera available on the market.

Cinematographers, industry experts, post people and many more will of course be able to tell the difference and that's all good.

But what matters most to me is the average viewer who will not be able to see any difference whatsoever. As a matter of fact, a talented DP can fool ME any day of the week with BMCC footage telling me it's shot on the Alexa.

And this is really the point I want to make : gear is no longer an excuse for not shooting beautiful stories. 99,99% of all viewers will never tell the difference if you know your craft well. BM has accomplished something truly special and they deserve our gratitude.